[...]gerian<lgc clss='lgc'>]lgc> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">technology is a means of revealing the truth

<lgc clss='lgc'>[lgc>it is not the machines that we are at the age of lss="trms">technology<lgc clss='lgc'>]lgc>

lss="trms">technology is always sent to us
in the lss="trms">story we are shifting to ‘send’, this doesn't mean that there is a sovereign subject or some lss="trms">sort of powerful ‘self’ lss="trms">responsible or at the olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of the productive behavior (or accomplishment) of San'an.

(l clss="ppl">Heideggerl> collects<lgc clss='lgc'>:lgc>)
destiny, destination, schicken, Schicksal, etc.
<lgc clss='lgc'>[lgc>ungeschickt <lgc clss='lgc'>=lgc>lss='qstn'>? destinal failss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure, existential lss="trms"nttrm="cluster,club">clumsiness<lgc clss='lgc'>]lgc>
<lgc clss='lgc'>[lgc><lgc clss='lgc'>ld>~ld>=lgc> lss="trms">technical error in destiny. what is the future of errorlss='qstn'>?<lgc clss='lgc'>]lgc>
<lsts clss="lsts lst1">•lss="trms">according to l clss="ppl">Heideggerl>, nobody (that also means everybody) can take at the wheel and make certain determinations and destinations
lsts> <lgc clss='lgc'>[lgc>this is his notion of ‘lss="trms">techne'<lgc clss='lgc'>]lgc>
<lsts clss="lsts lst1">•Tarsaa's lss="trms">technical lss="trms">intervention in San'an's destiny
lsts>
<lrg clss="large lg2" stl="font-size:111%"> that is another kind of relatedness
you can no longer talk about the subject or object
is one in full possession of oneselflss='qstn'>? one doesn't belong to oneself or anybody else<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>that would be a post-l clss="ppl">lss='trgt hghlght 1'href='?q=L'>Lacanl>ian critique, which is the self-sabotage of the mystic is not necessarily attached to a inevitable devouring lss="trms">authority, “I don't belong to myself or anybody else.” nor God, nor teacher, etc. <lgc clss='lgc'>==>lgc> the self is not necessarily devourable. <lgc clss='lgc'>[lgc>what are the certain components of the self of San'an that will remain unavailable, those that underlay a lss="trms">pervasive sense of not-belonginglss='qstn'>?<lgc clss='lgc'>-<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc> longing (‘vermissen’) the girl/Tarsaa, ‘to-be-longing'<lgc clss='lgc'>]lgc>
(why) am I inlss="trms"nttrm="cluster,club">cluding in my speech a lss="trms">rhetoric of faltering, self-sabotage, and hesitationlss='qstn'>?
should I edit it outlss='qstn'>? edit out the “I am not sure,” those self-canceling moments from my expressionlss='qstn'>?
(my) thoughts deserve elegant expressionsls clss='strcls'>***ls>

lrg>
lss="trms">translation of this is very unstable


(lss="trms">according to Hölderlin)
we arrive at the truth / the moment that the truth or Das Wahre emerges / the moment it closing in on us, is when we have to say goodbye



(these are rather ‘stances,’ than ‘lss="trms">questions’)
how the lss="trms">poet-l clss="ppl">Attarl> serves or is served-up and devastated by lss="trms">languagelss='qstn'>?



blast has a sense of destruction to it, and destruction is good and necessary, it clears away what is allss="trms"nttrm="already,spread">ready dead and hanging around burdening your being. blast is not a devastation, devastation promises no futurity

lss="prgrph">-who are you destroyed bylss='qstn'>?

whom am I addressing herelss='qstn'>? but more importantly, who or what is addressing me here (in a non-lss="trms">present way)lss='qstn'>?

San'an/girl/pig assemblage
(what is girl in San'an lss="trms">storylss='qstn'>? what is lss="trms">animal in San'an lss="trms">storylss='qstn'>?)

San'an lss="trms">story, as a scenography of sexual lss="trms">difference, and ironization (to make ironic in appearance or effect) of lss="trms">question and answer, Q&As in l clss="ppl">Attarl>

there is a dramaturgy of repudiation (when the students ask and blame<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>everyone is insulted) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Student is whom that which defines what is ls clss='strcls'>*ls>failss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurels clss='strcls'>*ls> (<lgc clss='lgc'>--lgc>'to be fixed’ <lgc clss='lgc'>=lgc>lss='qstn'>? olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of teaching)
<lgc clss='lgc'>{lgc>pupil is that which ‘summons’ the master - استاد احضار<lgc clss='lgc'>}lgc>

ملامت

...and an idealization of the self, and not the object
<lgc clss='lgc'>[lgc>where is the object in San'an lss="trms">poemlss='qstn'>? where is the shadow, the deadlss='qstn'>?<lgc clss='lgc'>]lgc>


basically here, I am opening a l clss="ppl">Derridl>ean expanse


...full path of an another Dasein


how far we are from the Dionysian Athenian festivallss='qstn'>? lss='trgt hghlght 1'href='?q=L'>Lenaia, a dramatic/comic competition of theatrical plays; coming from those of aristocrats and wine-mixing rituals, also where l clss="ppl">Aristophanesl> was testing ground and lss="trms">staging and test-audiencing his first texts and performances. and his “The Frogs” won the first prize actually. it is a divine comedy, Dionysus and Heracles etc. and it has a choral lss="trms">interlude sung by the eponymous chorus of frogs, a frog greatest-hits. (on his trip to Rome, is San'an going to encounter other textslss='qstn'>?)

the concept of ملامتگر (Malamatgar) or the one who reproaches is both central and peripheral in the lss="trms">story of Sheikh San'an. the lss="trms">story shows the crucial transformation of the students of the sheikh from ‘followers’ to ملامتگر. the stake are high at students’ behavior and not San'an's. the lss="trms">story tells that when your lss="trms">love falls in lss="trms">love with another person<lgc clss='lgc'>--lgc>that person, being a pagan gorgeous girl, a pig, or another idol<lgc clss='lgc'>--lgc>you must also fall in as well. it is important to understand whose perspective here is blamed for whose expectations. students’ project is expectation (of Sheikh)<lgc clss='lgc'>--lgc>is the pillar in the lss="trms">narrative. the failss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure to change and ability to experience that other perspective, and in this case the perspective of your significant-other's lss="trms">lover, results into the inception of ملامتگر and that is delss="trms">finitional for the formation of ملامتگر<lgc clss='lgc'>:lgc> someone who refuses to exercise another selfhood.

(This is also the central theme of the lss="trms">story of Moses and Khidr, in which Moses as follower/student becomes the Malaamatgar thing. This attitude of Khidr or San'an is provoking their audience to go beyond any version of fixation <lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>l clss="ppl">Attarl>'s idea of unfixity of discipleship's authenticity is kind of messed up)
how San'an is over or not over the lss="trms">material and his boner direction or erection is towards which psychoanalytically accessible phalluslss='qstn'>?

His students are following him backward!lss='qstn'>?
“Authentic disciple of four hundred men, were regressed (zurückschreiten) on a journey with him.” <lgc clss='lgc'>[lgc>why l clss="ppl">Attarl> is insisting on the authenticity of the disciple and apprenticeshiplss='qstn'>?<lgc clss='lgc'>]lgc>


we should always ask where this text comes from.


I try not to pre-program what is going to happen. <lgc clss='lgc'>[lgc>here now<lgc clss='lgc'>]lgc>


<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> https://www.youtube.com/watchlss='qstn'>?v=D9SIlss='trgt hghlght 1'href='?q=L'>L38hkgw
in the Shams Group music video, the soldiers in the video are having the little-l clss="ppl">Rumil>-packet in their backpacks, along with other suicides. (other soldiers having l clss="ppl">Holderlinl> or l clss="ppl">Nietzschel> in their backpacks)



lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical strongholds

<lrg clss="large lg1" stl="font-size:116%"> lrg>
to keep partnership with the self, so that there can be lss="trms">interlocution
(is this a possible ethicslss='qstn'>? <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> “can I live with myselflss='qstn'>?”)



what one does to be in consonant with what one is capable of.
(then what is vowellss='qstn'>?) vowel switches tracks and resonations
...penetrative grasp of a text, discovery and recreative apprehension of it life-forms, is impossible to paraphrase or lss="trms">systematize.


<lgc clss='lgc'>[lgc>Michel l clss="ppl">Serresl><lgc clss='lgc'>]lgc>


...temporal and local settings of one's text. (to master itlss='qstn'>?)


to lss="trms"nttrm="already,spread">read X, is lss="trms">literally, to ‘prepare’ to lss="trms"nttrm="already,spread">read X


in certain civilizations there comes epochs in which syntax stiffens...
Changing landscape of fact


words, the guardians of meanings, are not immortal.


note on lss="trms">history<lgc clss='lgc'>:lgc> lss="trms">past is a lss="trms">language construct, that the lss="trms">past tense of the lss="trms">verb is the sole guarantor of lss="trms">history.


to lss="trms"nttrm="already,spread">read<lgc clss='lgc'>:lgc> is to restore all that one can of the immediacies of value and intent in which speech actually occurs.


What lss="trms">material reality has lss="trms">history out of lss="trms">languagelss='qstn'>? <lgc clss='lgc'>--lgc>the Tasawwuf/Tasavof lss="trms">verbal lss="trms">linguistic tradition

...to remind you that everything is the condition of madness.


(protest against “was” <lgc clss='lgc'>-<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc> lss='gtrw'>go to l clss="ppl">Attarl>'s lss="trms">relation with biographies in Tazkirat al-Awliya<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>he mobilizes ‘personalities’ in the index of his mystic-lss="trms">ontological lss="trms">demand<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>what would the lack of personality take revenge of l clss="ppl">Attarl>lss='qstn'>?)
we are at a tense lss="trms">past and a lss="trms">past tense<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>prison tense


..the landscape lss="trms">composed by the lss="trms">past tense, the semantic organization of relss="trms">membrance... is styled and lss="trms">coded lss="trms">differently by cultures. <lgc clss='lgc'>--lgc>miniature illustrating San'anlss='qstn'>?


<lrg clss="large lg3" stl="font-size:112%"> The lss="trms">verbal icon made up of all successive lss="trms">translations of lss="trms">Greek lss="trms">literature and philosophy has oriented fundamental movements in Islamic feelings <lgc clss='lgc'>--lgc>l clss="ppl">Farabil>, Mirdamad, etc.
lrg>

My lss="trms">translation of classics is not out of a vital compulsion for immediacy or precise echo. I am not trying to build my own resonant lss="trms">past. Myth of the ‘true lss="trms">past’...  lss="trms">different perspectives can co-exist and blss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lur


<lrg clss="large lg4" stl="font-size:112%"> the lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics of the insult, in San'an lss="trms">story
lrg>

I am lss="trms">interested in the conventions in which texts can be lss="trms"nttrm="already,spread">read, in which a semantic statement can be carried over into someone's own idiom. I am teaching how to relss="trms"nttrm="already,spread">read texts of l clss="ppl">Attarl> and so forth.
I think we have civilization because (we have learned) ‘to lss="trms">translate out of time’



<lrg clss="large lg5" stl="font-size:114%"> übertrlss="trms">agen,
handing down thought lss="trms">narrative,
something that also depends on transfer of meaning in ls clss='strcls'>*ls>spacels clss='strcls'>*ls>
lrg>


San'an's[...]